DOCSLIB.ORG

A Touch of Zen of Touch a Hun Ha C George

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Touch of Zen of Touch a Hun Ha C George G ON G K A TOUCH OF ZEN 俠女 ON (Xia Nü) H Titolo italiano: A Touch of Zen – La fanciulla cavaliere errante Taiwan, 1970 and 1971 (two-part [ITA] Il giovane studioso e ritrattista Ku Sheng-chai vive solo con la madre, in un piccolo villaggio version), 200’, Mandarin Hong Kong, 1971 (one-part version), nel nord della Cina. Affascinato dalla misteriosa ragazza che si è recentemente trasferita nel HDCAM, 184’, Mandarin forte militare abbandonato vicino a casa sua, Ku si innamora della nuova e bella vicina; viene a Dir: King Hu (Hu Jinquan) sapere che la sua vera identità è Yang Hui-chen e lei è la figlia fuggitiva di un distinto funzionario Adapted Screenplay: King Hu Ph (color): Hua Hui Ying della dinastia Ming, giustiziato dai temutissimi eunuchi del Dongchang (Ufficio Investigativo Ed: Wang Jin Chen Speciale d’Oriente). Con l’aiuto dei fedeli seguaci del padre, Yang Hui-chen è sfuggita alla Music: Ng Tai-kong morte e si è rifugiata presso l’abate Hui Yuan, in un monastero buddhista dove ha acquisito Producer: Sha Yung-fong Cast: Hsu Feng (Yang Hui-chen/Yang competenze elevatissime nelle arti marziali. Ora è tornata allo scoperto in questa remota Huizhen), Shih Chun (Ku Sheng-chai/ cittadina, in attesa di un’occasione per vendicare la morte del padre, ma anche gli uomini del Gu Shangzhai), Bai Ying (General Shih Dongchang, come Ouyang Nian, sono riusciti a rintracciarla e sono pronti ad arrestarla insieme Wen-chiao), Tian Peng (Ouyang Nian), Xue Han (General Lu Ting-an), Wang ai suoi fedeli accoliti. Attingendo alle sue conoscenze delle strategie militari, Ku escogita un Rui (Men Da), Roy Chiao Hung (Abbot piano geniale e aiuta Yang a sfuggire all’assedio comandato dell’eunuco Men Ta del Dongchang. Hui-yuan), Han Yingjie (Hsu Hsien-chun/ Dopo la vittoria di Ku e Yang contro Men Ta e le sue truppe, arriva l’abate Hui-yuan per eseguire Xu Xianchun) Union (Lianbang) Film Company, i rituali necessari a consolare gli spiriti delle vittime del combattimento. Lasciandosi alle spalle Taiwan Ku e il mondo secolare, Yang torna al monastero, dove dà alla luce il figlio di Ku, che intanto attraversa disperato le montagne cercando di rintracciarla… A Touch of Zen è tratto da La donna cavaliere (Xia Nü), uno dei cinquecento racconti del soprannaturale contenuti nel classico della letteratura cinese I racconti fantastici di Liao (Liaozhai Zhiyi) di Pu Songling (1640-1715), ed è considerato da molti come l’opera più significativa della carriera di King Hu. Il film uscì in origine in due parti a Taiwan, nel 1970 e nel 1971, ma non ebbe successo al botteghino, rimanendo inosservato fino a quando non ricevette il Grand Prix de la Commission Supérieur Technique al Festival di Cannes del 1975. Diventato immediatamente un successo internazionale, A Touch of Zen ha portato King Hu a un livello di fama mondiale mai raggiunto prima di allora da nessun regista cinese. Il film fu girato prevalentemente a Taiwan e King Hu ha saputo sfruttare i luoghi più panoramici dell’isola, oltre a ricostruire minuziosamente un intero villaggio della dinastia Ming negli studi di posa della Union Film Company a Danan. A Touch of Zen, che vanta una progettazione meticolosa, una splendida fotografia e un montaggio ben cadenzato, è un’epica di arti marziali innovativa, arricchita da splendide sequenze come la meravigliosa scena di combattimento nella foresta di bambù che ha ispirato i film di wuxia delle generazioni successive, come La Tigre e il Dragone (2000) di Ang Lee e La Foresta dei Pugnali Volanti di Zhang Yimou (2004). George Chun Han Wang ScholarSpace 220 H ON G K ON G [ENG] Young scholar and portrait-painter Ku Sheng-chai lives alone with his mother in a small KING HU village in Northern China. Captivated by the mysterious maiden who has recently moved into the deserted military fort near his house, Ku falls for his beautiful new neighbor. He learns [ITA] King Hu nacque a Pechino nel that her true identity is Yang Hui-chen, the fugitive daughter of a distinguished Ming Dynasty 1932. Subito dopo il suo arrivo a Hong Kong nel 1949, svolse le attività official executed by the dreaded eunuchs of Dongchang (Eastern Special Investigative Bureau). lavorative più varie, dal correttore di Helped by her father’s loyal followers, Yang escaped death and was sheltered by Abbot Hui bozze allo scenografo, prima di ottenere la sua prima parte di attore nel 1953 Yuan in a Buddhist monastery where she acquired superior martial-arts skills. She has now in Humiliation for Sale. Dalla metà surfaced in this remote town waiting for a chance to avenge her father’s death, but Dongchang degli anni Cinquanta alla metà degli pursuers such as Ouyang Nian have also arrived and are ready to arrest Yang and her loyal anni Sessanta, King Hu recitò in più di trentasei film. Esordì alla regia alla cohorts. Drawing on his knowledge of military strategies, Ku devises a brilliant plan and helps Shaw Brothers con The Story of Sue San Yang defeat a siege led by eunuch Men Ta of Dongchang. (1964) seguito da Sons of Good Earth Upon Ku and Yang’s victory against Men Ta and his troop, Abbot Hui-yuan arrives to perform (1965). Il suo primo film wuxia è stato Come Drink with Me (1966), considerato rituals to comfort the spirits of the combat casualties. Leaving Ku and the secular world behind, un’opera pionieristica per la nascita Yang returns to the monastery, where she gives birth to Ku’s child. Ku travels across mountains del moderno cinema di arti marziali. desperately trying to locate Yang… Dragon Inn (1967) infranse i record di botteghino a Taiwan e Hong Kong. Adapted from Knight-Lady (Xia Nü), one of the five-hundred supernatural tales in the literary Il suo film successivo, A Touch of Zen classic Strange Stories from a Chinese studio (Liaozhai Zhiyi) written by Pu Songling (1640- (1970/1971), è stato il primo film wuxia 1715), A Touch of Zen is considered by many as the defining work of King Hu’s career. Originally in lingua cinese a vincere un premio al Festival di Cannes. Dopo una serie di film released in two parts in Taiwan in 1970 and 1971, the film was a box office disappointment acclamati dalla critica come A Fate of Lee and remained unnoticed until it was awarded the Grand Prix de la Commission Supérieur Khan (1973), The Valiant Ones (1975) e Technique at Cannes Film Festival in 1975. An instant international sensation, A Touch of Zen Raining in the Mountain (1979), nel 1984 Hu si trasferì in California, ma continuò a elevated King Hu to an unprecedented level of worldwide recognition and acclaim unmatched impegnarsi in attività creative a Taipei, by any other Chinese-language film director at the time. Filmed predominantly in Taiwan, King a Hong Kong e nella Cina continentale. Hu took advantage of the island’s most scenic locations, and also elaborately constructed an King Hu è scomparso a Taipei nel 1997, proprio quando stava per dare il via al entire Ming Dynasty village on Union Film Company’s Danan studio lot. Meticulously designed, suo progetto epico The Battle of Ono. beautifully photographed and rhythmically edited, A Touch of Zen is a ground-breaking martial [ENG] King Hu was born in Beijing arts epic that features stunning martial arts sequences including the memorable bamboo in 1932. Soon after arriving in Hong forest fight that inspired next-generation wuxia films like Ang Lee’s Crouching Tiger, Hidden Kong in 1949, he worked in a variety of Dragon (2000) and Zhang Yimou’s House of Flying Daggers (2004). occupations such as proofreader and set decorator before landing his first acting role in1953 with Humiliation for Sale. George Chun Han Wang From the mid-50s to mid-60s, King Hu acted in more than 36 films. He made his directorial debut at Shaw Brothers with The Story of Sue San (1964) and Sons of Good Earth (1965). His first wuxia film was Come Drink with Me (1966), considered a pioneer work in the birth of modern martial arts cinema. Hu’s Dragon Inn (1967) broke box office records in Taiwan and Hong Kong. His next film A Touch of Zen (1970/1971) became the first Chinese-language wuxia film to be awarded at the Cannes Film Festival. After a series of critically acclaimed films such as A Fate of Lee Khan (1973), The Valiant Ones (1975) and Raining in the Mountain (1979), Hu moved to California in 1984 but continued to engage in creative activities in Taipei, Hong Kong and mainland China. On the verge of seeing his epic project The Battle of Ono taking off, King Hu passed away in 1997 in Taipei. Filmografia/Filmography 1964 The Story of Sue San 1965 Sons of Good Earth 1966 Come Drink with Me 1967 Dragon Inn 1971 A Touch of Zen 1973 A Fate of Lee Khan 1975 The Valiant Ones 1979 Raining in the Mountain Legend of the Mountain 1981 The Juvenizer 1983 All the King’s Men 1990 Swordsman 1993 Painted Skin ScholarSpace 221.
Load more

Recommended publications
  • Narrative Space in the Cinema of King Hu 127
    interstate laws directed against the telegraph, the telephone, and the railway, see Questions of Chinese Aesthetics: Film Form and Ferguson and McHenry, American Federal Government, 364, and Harrison, "'Weak- ened Spring,'" 70. Narrative Space in the Cinema of King Hu 127. Mosse, Nationalism and Sexuality. by Hector Rodnguez 128. Goldberg, Racist Culture. Much of the concern over the Johnson fight films was directed at the effects they would have on race relations (e.g., the possibility of black people becoming filled with "race pride" at the sight ofjohnson's victories). This imperialistic notion of reform effectively positioned black audiences as need- In memory of King Hu (1931-1997) ing moral direction. 129. Orrin Cocks, "Motion Pictures," Studies in Social Christianity (March 1916): 34. The concept of Chinese aesthetics, when carefully defined and circumscribed, illu- minates the relationship between narrative space and cultural tradition in the films of King Hu. Chinese aesthetics is largely based on three ethical concerns that muy be termed nonattachment, antirationalism, and perspectivism. This essay addresses the representation of "Chineseness" in the films of King Hu, a director based in Hong Kong and Taiwan whose cinema draws on themes and norms derived from Chinese painting, theater, and literature. Critical discussions of his work have often addressed the question of the ability of the cinema, a for- eign medium rooted in a mechanical age, to express the salient traits of Chinas longstanding artistic traditions. At stake is the relationship between film form and the national culture, embodied in the concept of a Chinese aesthetic. Film scholars tend to define the main features of Chinese aesthetics selec- lively, emphasizing a few stylistic norms out of a broad repertoire of available his- tones and traditions, and the main criterion for this selection is the sharp difference between those norms and the presumed realism of European art before modern- ism.
    [Show full text]
  • The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
    11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson.
    [Show full text]
  • The Visible and Invisible Worlds of Tsai Ming-Liang's Goodbye, Dragon Inn
    Screening Today: The Visible and Invisible Worlds of Tsai Ming-liang's Goodbye, Dragon Inn Elizabeth Wijaya Discourse, Volume 43, Number 1, Winter 2021, pp. 65-97 (Article) Published by Wayne State University Press For additional information about this article https://muse.jhu.edu/article/790601 [ Access provided at 26 May 2021 21:04 GMT from University of Toronto Library ] Screening Today: The Visible and Invisible Worlds of Tsai Ming- liang’s Goodbye, Dragon Inn Elizabeth Wijaya Waste is the interface of life and death. It incarnates all that has been rendered invisible, peripheral, or expendable to history writ large, that is, history as the tale of great men, empire, and nation. —Saidiya Hartman, Lose Your Mother (2006) A film operates through what it withdraws from the visible. —Alain Badiou, Handbook of Inaesthetics (2004) 1. Goodbye, Dragon Inn in the Time After Where does cinema begin and end? There is a series of images in Goodbye, Dragon Inn (2003), directed by Tsai Ming-liang, that contain the central thesis of this essay (figure 1). In the first image of a canted wide shot, Chen Discourse, 43.1, Winter 2021, pp. 65–97. Copyright © 2021 Wayne State University Press, Detroit, Michigan 48201-1309. ISSN 1522-5321. 66 Elizabeth Wijaya Figure 1. The Ticket Lady’s face intercepting the projected light in Good- bye, Dragon Inn (Homegreen Films, 2003). Shiang-Chyi’s character of the Ticket Lady is at the lower edge of the frame, and with one hand on the door of a cinema hall within Fuhe Grand Theater, she looks up at the film projection of a martial arts heroine in King Hu’s Dragon Inn (1967).
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • EAF3506 | University of Exeter
    09/24/21 EAF3506 | University of Exeter EAF3506 View Online Taiwan New Cinema and Beyond: Authorship, Transnationality, Historiography 1. Yeh, Emilie Yueh-yu, Davis, Darrell William: Taiwan film directors: a treasure island. Columbia University Press, Chichester (2005). 2. Berry, Chris, Lu, Feii: Island on the edge: Taiwan new cinema and after. Hong Kong University Press, Hong Kong (2005). 3. Berry, Michael: Speaking in images: interviews with contemporary Chinese filmmakers. Columbia University Press, Chichester (2005). 4. Davis, Darrell William, Chen, Ruxiu: Cinema Taiwan: politics, popularity and state of the arts. Routledge, London (2007). 5. Hong, Gou-Juin: Taiwan cinema: a contested nation on screen. Palgrave Macmillan, New York (2011). 6. Lu, Tonglin: Confronting modernity in the cinemas of Taiwan and Mainland China. Cambridge University Press, Cambridge (2002). 1/21 09/24/21 EAF3506 | University of Exeter 7. Yip, June Chun: Envisioning Taiwan: fiction, cinema, and the nation in the cultural imaginary. Duke University Press, Durham (2004). 8. • MCLC (Modern Chinese Literature and Culture) Resource Centre . 9. •Taiwan Government Information Office‘s (GIO) ’Taiwan Cinema” . 10. Eng, R.: Taiwan: An Annotated Directory of Internet Resources. 11. Taiwan Ministry of Culture. 12. Ching, Leo T. S.: Becoming ‘Japanese’: colonial Taiwan and the politics of identity formation. University of California Press, Berkeley, Calif (2001). 13. Liao, Binghui, Wang, Dewei: Taiwan under Japanese colonial rule, 1895-1945: history, culture, memory. Columbia University Press, New York (2006). 14. Roy, Denny: Taiwan: a political history. Cornell University Press, Ithaca, N.Y. (2003). 2/21 09/24/21 EAF3506 | University of Exeter 15. Rubinstein, Murray A.: Taiwan: a new history.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [Show full text]
  • Appendices, Notes
    APPENDIX 1: Sample Confessions CH'U SSU ygo was a sect teacher from a village southeast of Peking. He was arrested in the fall of 1813. The rebels had considered and then rejected a plan for Ch'u Ssu to lead his men in an attack upon the imperial entourage as it returned from Jehol, and Ch'u was interrogated repeatedly about this plan. His various confessions about this and other matters, taken together with those of some of his associates, illustrate the kinds of information contained in con­ fessions, the reliability of such testimony, and the judicial process that produced them. A. First Interrogation of Ch'ii Ssu Memorial from the Grand Council and the Board of Punishments (KKCK 207.1, CC 18/9/24): On 9/23 we received a report from the censors for the south city [of Peking] saying that they had seized the criminal Ch'ii Ssu and [others]. They have been interrogated. The text of Ch'ii Ssu's confession is attached. Confession of Ch'ii Ssu (KKCK 208.1, 18/9/24) From T'ung district. Age thirty-six. Mother Miss Meng. Older brother Ch'ii Wen-hsiang. Wife Miss Ts'ai. My son Ch'ang-yu-r is ten. I was born the son of Ch'u Te-hsin but then I was adopted by Ch'u Wu. When I was nineteen, Liu Ti-wu brought me and Ch'ii Wen­ hsiang to take Ku Liang (who has since died) as our teacher. I entered the sect and recited the eight characters "Eternal Progenitor in Our Original Home in the World of True Emptiness." On the 14th day of the 8th month [of 1813] Lin Ch'ing told Liu Ti-wu to put me in charge of one to two hundred men and lead them to Yen-chiao [outside Peking] to rise up there.
    [Show full text]
  • Introduction
    INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined.
    [Show full text]
  • TAIWAN BIENNIAL FILM FESTIVAL 2019 FILM INFORMATION/TIMELINE October 18, 2019 7:30 Pm
    TAIWAN BIENNIAL FILM FESTIVAL 2019 FILM INFORMATION/TIMELINE October 18, 2019 7:30 pm – Opening Film HEAVY CRAVING Billy Wilder Theater In a special celebration, UCLA Film & Television Archive and Taiwan Academy in Los Angeles are excited to accompany the North American premiere of the film with a guest appearance by the film’s acclaimed Director/Screenwriter Hsieh Pei-ju, who will participate in a post-screening Q&A. HEAVY CRAVING (2019) Synopsis: a talented chef for a preschool run by her demanding mother, Ying-juan earns praise for her culinary creations but scorn for her weight. Even the children she feeds have dubbed her “Ms. Dinosaur” for her size. Joining a popular weight loss program seems like an answer but it’s the unlikely allies she finds outside the program—and the obstacles she faces in it—that help her find a truer path to happiness. Writer-director Hsieh Pei-ju doesn’t shy away from the darker sides of self-discovery in what ultimately proves a rousing feature debut, winner of the Audience’s Choice award at this year’s Taipei Film Festival. Director/Screenwriter: Hsieh Pei-ju. Cast: Tsai Jia-yin, Yao Chang, Samantha Ko. October 19, 2019 3:00 pm – “Focus on Taiwan” Panel Billy Wilder Theater Admission: Free With the ‘Focus on Taiwan’ panel UCLA Film & Television Archive and Taiwan Academy in Los Angeles are thrilled to present a curated afternoon of timely conversations about issues facing the Taiwan film industry at home and abroad, including gender equality and inclusion of women and the LGBTQ community on screen and behind the camera, the challenges of marketing Taiwanese productions internationally and more.
    [Show full text]
  • Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
    UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
    [Show full text]
  • MOUNTAINS MAY DEPART (SHAN HE GU REN) a Film by Jia Zhangke
    MOUNTAINS MAY DEPART (SHAN HE GU REN) A film by Jia Zhangke In Competition Cannes Film Festival 2015 China/Japan/France 2015 / 126 minutes / Mandarin with English subtitles / cert. tbc Opens in cinemas Spring 2016 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] New Wave Films 1 Lower John Street London W1F 9DT Tel: 020 3603 7577 www.newwavefilms.co.uk SYNOPSIS China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced meets up with her son before he emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name... DIRECTOR’S NOTE It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships.
    [Show full text]